Eight photographs of dioramas and installation work at the Museum Pengkhianatan PKI, including a life-size Supersemar tableau with Sukarno and a woman in kebaya beside him. Visual record of the museum's making.
Eleven damaged colour prints (June 1974) of dioramas made by Edhi Sunarso's workshop for the Museum Satriamandala, showing oath-taking, assemblies and possibly an exhumation scene. Uncaptioned visual record of the military museum's historical narrative.
Official record of the first handover, 30 Sep 1975, of 29 dioramas by Edhi Sunarso to the Armed Forces History Centre for the Museum Pusat ABRI. Documents the production of military-history dioramas that fed the 1965 narrative.
Official record of the second and final handover of 29 dioramas by Edhi Sunarso to Nugroho Notosusanto's Armed Forces History Centre, Dec 1975. Shows the Pusjarah project that produced official military history displays.
Letter of 20 Nov 1992 from Brig. Gen. Bintarto appointing PT Tiga Hasta Kreatifa without tender to renovate the Paseban building, dioramas and pool at the Pancasila Sakti Museum for Rp 88,484,000. Administrative record of the Lubang Buaya memorial project.
Handwritten draft by sculptor Edhi Sunarso, 30 Nov 1992, asking Bank Niaga Yogyakarta for a 5% performance guarantee for the Paseban, diorama and pool renovation at Monumen Pancasila Sakti. Shows the commercial side of the state memory project.
The Guardian, 23 May 1998, p.24, Martin Woollacott, 'Chaos at Crocodile Hole': comment on Suharto's fall, arguing it is no triumph and that his legacy of division (military vs Islamists, rich vs poor, ethnic and religious tensions) leaves the country fragile. It opens with the Crocodile Hole (Lubang Buaya) shrine, whos
Seven-page summary (LIPI journal, 2010) of Djakababa's dissertation arguing 1 Oct 1965 was chaotic and the New Order turned it into a good-versus-evil narrative via trials, the monument, commemoration and the film. Short companion to the full thesis.
Tempo report (1 Oct 2012) on Banyuwangi: the 'Gagak Hitam' force of NU/PNI members hunted communists after 62 Ansor were killed at Cemethuk (commemorated at the Pancasila Jaya monument, called Lubang Buaya Cemethuk). Testimony of Baidawi and ex-Lekra secretary Andang Chatif Yusuf; bodies thrown into Jurang Tangis. Gerw
Martha Stroud's 2015 UC Berkeley/UCSF medical-anthropology dissertation, based on fieldwork in Yogyakarta (2010-12), examines how the 1965-66 killings shape daily life through propaganda, surveillance, stigma, silence and justice. Gerwani appears mainly as the object of New Order propaganda: the Lubang Buaya mutilation
Elsa Clave's introduction (Archipel 99, 2020) to a dossier on 1965 and cinema, arguing memory remains institutionalised in museums and monuments and stigma of communism is easily manipulated, as in the 2017 attack on LBH Jakarta. Context on film and memory.
Tempo magazine report (16 Nov 2025, Shinta Maharani and Iwan Kurniawan) on the Biennale Jogja solo exhibition of Lekra artist Mia Bustam at Benteng Vredeburg (opened 6 Oct 2025), based on Astrid Reza's thesis. It covers her arrest, nearly 14 years' detention (Plantungan gardener), embroidery, paintings, Api Kartini mag
MA thesis (University of Georgia, 2026) by Alyx L. Bontrager on how Indonesian artists Rangga Purbaya, Dadang Christanto and Leyla Stevens use testimony, embodiment and place as memory activism against the silencing of the 1965-66 genocide, theorised as 'counter-monuments'. Gerwani appears only in passing: ch. 2 (p. 7)